A Quote by Nani

When it comes to 'Ala Modalaindi,' I was impressed with the storyline narrated by Nandini, the director of the film. — © Nani
When it comes to 'Ala Modalaindi,' I was impressed with the storyline narrated by Nandini, the director of the film.
After I finished my degree in Mass Communication in Manipal, I enrolled for a cinematography course in Pune Film Institute. That is when Nandini Reddy, the director of 'Ala Modalaindi,' convinced me to act.
After I did 'Ala Modalaindi,' I wanted to prove that a girl can also carry a film on her own.
Ala Modalaindi' is a labour of love and leaves me with a smile when I look back.
People in Andhra Pradesh treat me like a girl next door after 'Ala Modalaindi.' I feel at home here.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
My dad and stepmom live in Mobile, Ala., and spend their vacation time an hour's drive away in Orange Beach, Ala. This means that, throughout my life, I have regularly vacationed there as well.
After watching my Kannada film 'U Turn,' director Kannan narrated the story of 'Ivan Thanthiran,' and wanted me to attend the auditions in Chennai. He selected me after seeing me perform to two difficult scenes I was given during the screen test.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
I think the one that's going to be the hardest to make into a film is the one that's probably going to be made into a film, which is 'The Art of Racing in the Rain.' I mean, it's narrated by a dog. How do you do that? But hopefully we'll get to see.
I get very excited when I have to work in a film and when I am narrated.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
I grew up in Birmingham, Ala. Nobody really blow up from Birmingham, Ala.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
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